Malcolm Washington’s feature-length directorial venture, *The Piano Lesson*, which draws inspiration from August Wilson’s play regarding the complex significance of Black ancestry, represents a considerable achievement. It stands as the third adaptation of Wilson’s work produced by his father, Denzel Washington, after *Ma Rainey’s Black Bottom* and *Fences*—the latter of which Denzel directed as well—but it is the first to genuinely thrive as a cinematic piece.

Set against the backdrop of the mid-1930s, the narrative centers on two siblings, Berniece and Boy Willie, whose differing views on their family heirloom emerge as a point of contention: a piano intricately designed with the likenesses of their enslaved forebears. Boy Willie is keen to sell it to acquire land, while Berniece sees it as a vital representation of their family’s painful yet enduring legacy. With a remarkable cast, including John David Washington and Danielle Deadwyler, Malcolm Washington enriches Wilson’s stage work by broadening its horizons and turning it into a visually striking film.

Although some of the play’s metaphors become more explicit in the film, occasionally stepping into horror territory, Washington’s cinematographic approach surpasses earlier adaptations. In contrast to simply filming a stage play, as was done with *Ma Rainey’s* and *Fences*, Washington employs the camera to delve into the deeper meanings of the text, imparting fresh layers to Wilson’s Pulitzer Prize-winning creation.

### What is *The Piano Lesson* about?

Featuring a screenplay by Malcolm Washington and Virgil Williams, *The Piano Lesson* remains loyal to its original 1987 source but introduces new elements to expand the narrative. The plot primarily unfolds in the Pittsburgh residence of Berniece Charles (Danielle Deadwyler), who lives with her uncle Doaker (Samuel L. Jackson) and her daughter Maretha (Skylar Aleece Smith). The film starts off with a flashback to 1911, illustrating a crucial incident: the theft of the family piano from a Mississippi plantation by Berniece and Boy Willie’s father. This crime, which transpires on the Fourth of July, is a minor detail in Wilson’s play but evolves into a moment of contemplation in the film, as fireworks cast the characters in red, white, and blue, raising inquiries about the true essence of freedom.

In the 1930s, amid the Great Depression, Berniece’s brother Boy Willie (John David Washington) arrives in Pittsburgh with his companion Lymon (Ray Fisher), aspiring to sell watermelons to raise funds to purchase land. Nonetheless, to finalize the transaction, Boy Willie needs to sell the piano, which Berniece adamantly refuses to relinquish, despite no longer playing it. The piano, crafted by their great-grandfather, an enslaved artisan, serves both as a cherished family relic and a painful reminder of their ancestors’ trials. As the siblings navigate their opposing ambitions, the piano becomes the crux of their emotional and financial turmoil.

Throughout the film, numerous characters from the family’s history pay visits to Berniece’s home, leading to moments filled with nostalgia, conflict, and reflection. Washington adeptly captures the rhythm of Wilson’s dialogue, allowing the actors to delve into the intricate feelings that underlie their expressions.

### *The Piano Lesson* adapts the stage play with cinematic flair.

With any successful adaptation from stage to screen, *The Piano Lesson* provides its actors space to shine. The chemistry among the cast members, especially in their nuanced gestures and interactions, unveils entire backstories between the characters. Washington honors Wilson’s finely crafted dialogue by allowing the performers to deliver spontaneous, emotionally resonant portrayals.

John David Washington’s interpretation of Boy Willie is especially vibrant. His quick-paced dialogue drives the storyline forward, while also imbuing the role with joy and dynamism. When the film transitions to more serious moments, Washington’s intensity is almost overwhelming, as the camera follows him throughout Berniece’s home, capturing his every motion. His exchanges with Doaker, Wining Boy (Michael Potts), and local reverend Avery Brown (Corey Hawkins), who has a romantic interest in Berniece, further enrich the film’s examination of family and heritage.

As a director, Malcolm Washington amplifies the closeness of every dialogue by utilizing close-ups and reaction shots to highlight the characters’ emotional reactions. This technique fosters a more intimate, interconnected narrative as characters respond to each other’s recollections and insights.

However, Washington’s emphasis on capturing the actors’ spontaneity can sometimes lead to clumsy editing. The film’s cuts may come across as disconcerting, with objects and bodies occasionally blocking the view. While the cadence of Wilson’s dialogue remains intact, the visual continuity can be interrupted, engendering a subtle sense of discomfort. Yet, this disjointedness ultimately enhances the film’s eerie, supernatural components.

### *The Piano Lesson* wrestles with the past.

The piano itself dominates the film, serving as a pivotal element of the production.